The Happy Hypocrite 10 - Tolstoyevsky

‘Tolstoyevsky is not a Russian writer; it is a monster of sorts – a chimera, a composite of two and true to neither one nor a sum. It can make jokes (and threats) fly so fast they skip the funny parts. Here it lends its name to an issue that is about how humour is often not humour, or about how it sometimes doesn’t work, and how half our lives are filled with things that don’t work. Which probably means they work, right?’ – Virginija Januškevičiūtė, from the Outro

The Happy Hypocrite – Tolstoyevsky is, ideally, like a room full of high-spirited people playing a game, trying to do or say some nonsense, folding embarrassment and losses in translation into part of the exchange. The main portion of the journal is made up of responses to an open call; submissions picked up on cues within two short stories: ‘Moles & Mice’ by Candice Lin, and ‘Tolstoyevksy’, written by Virginija Januškevičiūtė about a hospitable man with a house full of books who exclaimed ‘Oh I have read all your Tolstoyevskys!’ when asked what he had read.

Carolee's Magazine

Carolee’s is the second issue of The Magazine of the Artist’s Institute. Dedicated to CAROLEE SCHEEMAN, it features a previously unpublished image archive from Schneemann’s studio that documents half a century of morphological connections between her work and other visual material, including art, advertising, and popular culture. A new long-form profile of Schneemann by writer MAGGIE NELSON accompanies this project and considers the artist’s relationship to the history of her reception and Schneemann’s significant influence on subsequent generations of feminists.

Spike Art Quarterly #56 - Summer 2018

CULTURE WARS The culture wars are raging. Neoliberalism and right-wing populism have co-opted the critique of the 1960s and turned it against art, science and the democratic public sphere, while the left is consumed by infighting. This issue is about the return to battle, strategies of (dis-)engagement, and the question of what art is capable of in the aftermath of the great weirding.

Along with pieces on Christoph Schlingensief, Sandra Mujinga, Marianna Simnett, new American rappers, and the influence of the right on culture across Europe, Spike #56 features an essay by Alison Gingeras and Jamieson Webster on the failed experiment of Otto Muehl’s commune and what it can tell us about our own time.

According to the nineteenth-century teachings of Nikolai Fedorov—librarian, religious philosopher, and progenitor of Russian cosmism—our ethical obligation to use reason and knowledge to care for the sick extends to curing the dead of their terminal status. The dead must be brought back to life using means of advanced technology—resurrected not as souls in heaven, but in material form, in this world, with all their memories and knowledge.

his book of interviews and conversations with today’s most compelling living and resurrected artists and thinkers seeks to address the relevance of Russian cosmism and biocosmism in light of its influence on the Russian artistic and political vanguard as well as on today’s art-historical apparatuses, weird materialisms, extinction narratives, and historical and temporal politics. This unprecedented collection of exchanges on cosmism asks how such an encompassing and imaginative, unapologetically humanist and anthropocentric strain of thinking could have been so historically and politically influential, especially when placed alongside the politically inconsequential—but in some sense equally encompassing—apocalypticism of contemporary realist imaginaries.

The Happy Hypocrite 8 - Fresh Hell

‘What fresh hell is this? There’s an inferred question in the title of this issue. But it’s a rhetorical one. Because we know exactly what fresh hell this is. Fossil Fuel – that paralytic drug – has leeched into our collective bloodstream. It’s difficult to recognize the beasts that are eating us in this very moment.’ – Sophia Al-Maria, from the Editor’s note, The Happy Hypocrite 8

The Happy Hypocrite – Fresh Hell treats in different ways the subject of oil. Adopting an exploded methodology for intake, image and text contributions, this issue takes a hoarding, brutally accelerative approach and considers reading, too, as an unsustainable activity. Guest editor Sophia Al-Maria’s archive acts a sort of proto-Tumblr composed of school notebooks, war games and oil industry pamphlets scattered as a series of identifying clues. All windows are open, all browsers are burning: The Happy Hypocrite asks what happens when reblogged information is translated into paper-based print.

The publication combines elements of an academic journal, an art book and an erotic magazine. Phile dissects forms and practices of sexuality with the aim to encourage a more empathetic understanding towards people and communities who live outside of normative or binary structures. - PHILE

According to editor Will Holder, ‘Flurry’ came about after being asked to propose ten books for acquisition by the Gerrit Rietveld Academie library in Amsterdam. He gave a talk about that selection, for which he preferred reproducing original material over commentary, and wanted to allow others to speak. The outcome was a reading back and forth between the ten books. It soon became clear that this reading would readily lend itself to an issue of ‘F.R. David’. Associated material came up in the process of transcription.

Spike Art Quarterly #55 - Spring 2018

FASHION Brands such as Y/Project, Telfar and Vetements have found new ways to pick up where the designers of the 90s left off. Aided by strategies borrowed from art, they are transforming the fashion system from within and widening its boundaries beyond recognition. Fashion is succeeding precisely where art is not, wresting autonomy out of enormous political and social shifts. Is it now art’s turn to learn from fashion?

With Emily Segal and Alessandro Bava discussing art, fashion and the contemporary; Ella Plevin on Bernadette Corporation and Elsa Schiaparelli's "The Tears Dress"; Matthew Linde on the origins of the fashion show; Sylvie Fleyry in conversation with Dean Kissick; our Questions answered by Jack Self, Andra Dumitrascu and Youths In Balaclava; Natasha Stagg on Micro-Influencing; Dominikus Müller on painter Lukas Duwenhögger and Marina Fausr on the Margiela retrospective in Paris.

Also: A Curator’s Key by Kaat Debo, director of MoMu Fashion Museum Antwerp; Matthew Linde in conversation with Marco Pecorari on fashion ephemera; Dominikus Müller on colette Paris and the end of the concept store; Artist’s Favourites by Jakob Lena Knebl; a postcard from Sydney by Rare Candy; Christian Muhr and Wally Salner on Fast Forward, a 1999 exhibition in Vienna of the decade’s most influential designers; “The End Is Night” by Natasha Stagg; artists’ contributions from Yves Saint Laurent, Torbjorn Rodland, Puppies Puppies, Pelican avenue and Johannes Schweiger and more …

F.R.DAVID is a typographical journal, edited by Will Holder, dealing with the organisation of reading and writing in contemporary art practises. This 13th issue of F.R.DAVID is edited with Riet Wijnen, and has its origins in her Registry of Pseudonyms, an online database which accounts for who is who and why who is who. ‘Inverted Commas’ follows ‘pseudonym’ through names, naming, bodies, brains, self, author, other, reader, labour.

The Happy Hypocrite 9 - ‘#ACCUMULATOR_PLUS

Thinking about use of the word plus (e.g. in Job Centre Plus) in official attempts to instil (false) optimism in people, The Happy Hypocrite 9 imagines what it would mean to see the ‘plus’ reclaimed. The first issue to solicit sound-based contributions, opening the journal to music, and exploring radio as a radical method of distribution, #ACCUMULATOR_PLUS seeks new ways of addressing questions of speed, communications technologies and the dynamics of interaction between local and global space, by revisiting recent underground histories spanning rave, pirate radio, Detroit techno and east London grime.

This is the Same Ocean #6

Author: Samuel Davison (ed.)Title: This is the Same Ocean #6Subject: Periodicals & ReprintsStock:✔

Now in its sixth year, This is the Same Ocean returns to present new work from some of the world’s most intriguing contemporary photographers. Featuring a cover image by Foam Talent Heikki Kaski, issue 6 features the work of Tine Bek, Shannon May Powell, Lola Paprocka and Victoria Zschommler, alongside Kaski and editor Samuel J Davison.

Extra Extra #9

Palme d’Or winner Apichatpong Weerasethakul sits on Extra Extra table and shares mythical sensory experiences, tenderness and warm humor with the writer Paul Dallas. Do you also wonder how relationships can heal and expend our consciousness?Devouring an artwork by Laure Prouvost is to swallow the seductive elements that fathom and stick the audience through lactation, smell, secretion, and corpulence; curator Natasha Hoare explores in what way Laure succumbs to a state of lush and allurement.

Daring a view of Aaron McElroy’s crude and delicate photographs, meanwhile sucking a toe, and pulling out the tang; artist Sarah Anne Johnson blows up sparkles of abstract paint on your bed, beyond the surrealist nudes; photographer Nikolay Bakharev brings a sweltering and delicate worlds of affection through his lens; artist Sam Samiee composes posters for your bedroom, sensibly depicting boys’ voluptuousness when asleep. Do you want to play with Extra Extra writer Fatos Ustek? Her Musings piece is a philosophical emulation about the sensuality of play, and what elapses an encounter.

Biting, chewing words, performer Michael Portnoy explores the unity between sex and language in diverse societies and intriguing rituals, and how the rhythm of thoughts unfolds through prose-poetic in our feature Some Thoughts On. Do you ever night walk? Author Matthew Beaumont takes you on a literary journey in the sensuous and obscure streets of London in the delicious company of you my dear reader, together we share the dangerous and the sensual of night walking. The Urbex on Hamburg lies in the hands of author Kerstin Niemann, who opens to us the gate of pleasure, sharing stories of sailors, crocodiles, and drag queens

Volume #51

As recent technological advancement became more and more pervasive and sophisticated, its consequences became more dramatically evident. In this context, design takes on a new relevance, in organizing and managing spaces, individuals, relations and ultimately societies. But if this is clear, several questions have to be answered: Who is driving it, who are the participants, who are sitting around the table? Does spatial design currently have a say in this, and if not, how can it participate and intervene?

Volume #51: Augmented Technology includes ‘Deconstruction’, a 32-page insert produced with the Jacob Bakema Study Centre and designed by Loraine Furter. It investigates the deconstruction and reuse of modernist building components as researched by Rotor.

Harvard Design Magazine #44

The world is acting out—making rash, impulsive decisions whose repercussions may be irreparable. The body politic is moody, volatile, and uncompromising. We were born into Y2K and 9/11; our youth is part of a string of crises and rapid evolutions. Can the physical landscape weather our collective turmoil? Adolescence may be 'just a phase,' but architecture, infrastructure, and policy are hard to undo.

What does it mean to be 17 in 2017? This issue of Harvard Design Magazine checks in with teens of all sorts—humans, buildings, objects, ideas—and their impact on the spatial imagination. Like a bildungsroman for the built environment, 'Seventeen' dives into the treacherous, exhilarating limbo of the teen years to understand and reclaim this global adolescence.

Terremoto 10 - FAYUQUERXS

A fayuquero, in Mexican colloquial Spanish, is a person 'who is dedicated to selling the merchandise acquired through smuggling.' While the free market, with NAFTA-type or the Pacific Alliance regulations, recommends the effective and fluid circulation of objects and goods, its vision limited by capitalism, does not contemplate the plurality found in the diversity of human beings to also include marginalized bodies, identities and ideas. The real fayuca to be threaded to the mainstream in our time, beyond screens and microwaves, would not be the progressive ideals that have drowned in the slow shipwreck of the modern left? Or also, those initiatives that challenge the hegemonic order?

In this issue of Terremoto, we will talk about the ability of the art to move away from secrecy to openly criticize the reality, a dangerous right that has been conquered throughout history. We will recognize the ambiguity of the relationship we have with the systems of power that make us visible (at their convenience), that provide us with the resources to operate, or on the contrary, try to disappear us, both in relation to the institution and the market. We will honestly assess our aspirations of independence from the economic to the conceptual and ethical, considering dissent, disguise and trap as possible and perhaps still desirable resources.

'Recognition' is concerned with bodies, ecology, empathy, gazing at the world, and reading (environments) from non-anthropocentric POVs—nonetheless described and written by humans. Animals, birds, and trees feature heavily.

Copernicus told us that the earth was not the center. Darwin told us that man is not the center. If we listened to the anthropologists we might hear them telling us, with appropriate indirectness, that the White West is not the center. The center of the world is a bluff on the Klamath River, a rock in Mecca, a hole in the ground in Greece, nowhere, its circumference everywhere. Perhaps the utopist should heed this unsettling news at last. Perhaps the utopist would do well to lose the plan, throw away the map, get off the motorcycle, put on a very strange-looking hat, bark sharply three times, and trot off looking thin, yellow, and dingy across the desert and up into the digger pines.

Ursula K. Le Guin, A Non-Euclidean View of California as a Cold Place to Be (1982)

Spike Art Quarterly #53 - Autumn 2017

THE REALdoesn’t exist in a vacuum but is shaped by desire and ideology, fiction and art. Its borders are indistinct, its appeal dubious, its essence elusive. Maybe we live in a simulation. When’s the last time you experienced a glitch? Sometimes another reality intrudes into the one we thought we knew and changes us forever. This issue of Spikelooks at the real as a fault-line of art and a utopian horizon of its agency. Welcome to the oasis of the real!

This issue comprises various outlooks on perspective. This might be taken to mean something as specific as a particular opinion or as general as an axonometric projection; in short, different ways and means of looking at the world. And so you find Vincenzo Latronico attempting to get in touch with E.T., a collection of Lucy McKenzie’s illusory quodlibets, a conversation between Jumana Manna and Robert Wyatt on art and ethics, a timely analysis of 'Lifestyles of the Rich and Famous' by Sarah Demeuse, along with other points of view from Mark de Silva, Jocelyn Penny Small, Abigail Reynolds, James Langdon & Mathew Kneebone, Johan Hjerpe, and the inimitable 9mother9horse9eyes9.

The Exibitionist

'The Exhibitionist: Journal on Exhibition Making' is an anthology of the first 12 issues of the journal about contemporary curating that bears the same name. Established in 2009 as a forum for critical reflection on exhibition-making and curatorial practice, The Exhibitionist has always defined itself as 'by curators, for curators.' Modeled after the iconic French film journal Cahiers du cinema, The Exhibitionist has served a critical role in examining current curatorial practices by focusing specifically on the exhibition format as a site of experimentation and inquiry.

Very much reduced price (from 40 EUR) because of a hole discovered in the paper cover*

Speculations V: Aesthetics in the 21st Century

Ever since the turn of the century aesthetics has steadily gained momentum as a central field of study across the disciplines. No longer sidelined, aesthetics has grown in confidence.

This special volume of Speculations explores the ramifications of what could be termed the new speculative aesthetics. In doing so, it stages a three-fold encounter: between aesthetics and speculation, between speculative realism and its (possible) precursors, and between speculative realism and art and literature.

Speculations VI

In this sixth issue of Speculations, a serial imprint created to explore post-continental philosophy and speculative realism, a wide range of contemporary philosophical issues pertaining to the contemporary philosophical scene is touched upon, from the continental realism of Tristan Garcia, Graham Harman and Quentin Meillassoux to the ‘new realism’ of Maurizio Ferraris, from Lacanian and Laurellian speculations to the synthetic philosophy of Fernando Zalamea’s mathematics.

Collapse Volume VII

Cookery has never been so high on the agenda of Western popular culture. And yet the endlessly-multiplying TV shows, the obsessive interest in the provenance of ingredients, and the celebration of ‘radical’ experiments in gastronomy, tell us little about the nature of the culinary. Is it possible to maintain that cookery has a philosophical pertinence without merely appending philosophy to our burgeoning gastroculture?

Drawing on resources ranging from anthropology to chemistry, from hermetic alchemy to contemporary mathematics, Collapse VII: Culinary Materialism undertakes a trans-modal experiment in culinary thinking. A wide range of contributors including philosophers, chefs, artists, historians, and synaesthetes examine the cultural, industrial, physiological, alchemical and even cosmic dimensions of cookery, and propose new models of culinary thought for the future.

Collapse Volume VI

Real and imaginary geographies and cartographies have played a dual role in philosophy, serving both as governing metaphor and as ultimate grounding for philosophical thought; but urgent contemporary concerns introduce new problems for geophilosophy: planetary political, technological, military, and financial mutations have scrambled territorial formations, and scientific predictions now present us with the apocalyptic scenario of a planet without human thought.

Collapse VI brings together philosophers, theorists, eco-critics, leading scientific experts in climate change, and artists whose work interrogates the link between philosophical thought, geography and cartography, in order to create a portrait of the present state of ‘planetary thought’.

Collapse Volume IV

Collapse IV features a series of investigations by philosophers, writers and artists into Concept Horror. Contributors address the existential, aesthetic, theological and political dimensions of horror, interrogate its peculiar affinity with philosophical thought, and uncover the horrors that may lie in wait for those who pursue rational thought beyond the bounds of the reasonable.

The Exhibitionist #1 - January 2010

The Exhibitionist does not intend to occupy itself with all forms of curatorial practice. Rather, it is specifically concerned with the act of exhibition making: the creation of a display, within a particular sociopolitical context, based on a carefully formulated argument, presented through the meticulous selection and methodical istallation of artworks, related objects from the sphere of art, and objects from other areas of visual culture.

The Exhibitionist #4

The Exhibitionist is a journal focusing solely on the practice of exhibition making. Its objectives are to create a wider platform for the discussion of curatorial concerns, encourage a diversification of curatorial models, and actively contribute to the formation of a theory of curating.